Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Hungary and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Stockholm kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Pole to the grime kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Con Funk Shun. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Rowland S Howard / Lydia Lunch,
Rotary Connection,
Altered Images,
Byron Stingily,
X-Ray Spex,
Minnie Riperton,
The Monochrome Set,
London Community Gospel Choir,
Blossom Toes,
Nils Olav,
Hot Snakes,
John Coltrane,
The Black Dice,
Bootsy Collins,
Ludus,
Ralphi Rosario,
Grandmaster Flash,
Scott Walker + Sunn O))),
The Moody Blues,
Little Man,
Black Moon,
Silicon Teens,
The Blues Magoos,
Half Japanese,
In Retrospect,
Roxy Music,
Los Fastidios,
Warsaw,
Essential Logic,
Donald Byrd,
Slave,
Excepter,
The Five Americans,
the Sonics,
Kenny Larkin,
Barrington Levy,
Saccharine Trust,
The Litter,
Godley & Creme,
Angry Samoans,
Tomorrow,
T.S.O.L.,
The Index,
Gil Scott-Heron & Brian Jackson,
Traffic Nightmare,
Gang Green,
Bootsy's Rubber Band,
Fat Boys,
Audionom,
Ultravox,
Wally Richardson,
Matthew Bourne,
Brand Nubian,
The Smoke,
Art Ensemble Of Chicago,
The Monks,
Neu!,
Soft Machine,
Jeff Mills,
Sun Ra Arkestra,
Letta Mbulu,
Lalo Schifrin,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.